George CatlinEstados Unidos, 1796–1872Dubuque's Grave, Upper Mississippi
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“Dubuque's Grave is a place of great notoriety on this river, in consequence of its having been the residence and mining place of the first lead mining pioneer of these regions, by the name of Dubuque, who held his title under a grant from the Mexican Government (I think), and settled by the side of this huge bluff, on the pinnacle of which he erected the tomb to receive his own body, and placed over it a cross with his own inscription on it . . . At the foot of this bluff, there is now an extensive smelting furnace, where vast quantities of lead are melted from the ores which are dug out of the hills in all directions about it.” (Catlin, Letters and Notes, vol. 2, no. 50, 1841; reprint 1973)
Museu Smithsoniano de Arte Americana
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- Número de inventário
- 1985.66.330
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- Museu Smithsoniano de Arte Americana
- Imagem: Museu Smithsoniano de Arte Americana — CC0
Entretanto, na vida de George Catlin
A vida inteira1830–1836
Five journeys into the American West
St. Louis was his base for the five trips and the steamer Yellowstone of the American Fur Company his first transport; he visited 48 tribes in all (other accounts say about fifty). On trips along the Arkansas, Red and Mississippi rivers, in Florida and around the Great Lakes he painted more than 500 pictures and gathered a substantial collection of artifacts.
spring 1834
Fort Gibson: portraits of Cherokee, Choctaw, Osage
Leaving New Orleans for Fort Gibson in Indian Territory, he paints portraits of Cherokee, Choctaw, Muscogee, Osage and other Native Americans.
19 June 1834
With the dragoons onto the Southern Plains
He sets out onto the Southern Plains with a dragoon detachment led by Henry Leavenworth and Henry Dodge, and visits Comanche and Wichita lands.
1836
First exhibition: about 500 works
Catlin’s first exhibition takes place in the United States, with about 500 works, but it makes little public stir.
1838
The Indian Gallery and public lectures
Back in the East, he gathers his paintings and Native artifacts into his own Indian Gallery and begins giving lectures on life among the Indians, touring Pittsburgh, Cincinnati and New York with the show. The paintings hang salon-style, in rows one above another, and visitors identify them by catalogue numbers.
1838
Congress declines to buy the Indian Gallery
The U.S. Congress rebuffs his offer to sell the collection: Catlin wanted his life’s work kept intact, but his later efforts to persuade officials in Washington failed as well.